ART27, which was formerly known as "Jeugd en Muziek," has long had a strong reputation as the organizer of classical music concerts in Tienen. With Le Concert de Tirlemont on Saturday, November 9 in the OLV Ten Poelkerk, in the heart of Tienen, they once again confirmed their status. The name Le Concert de Tirlemont refers to the historical music society from the 18th century that brought the finest music from Europe to audiences in Tienen. And so the concert also confirmed the status of the now small provincial city of Tienen as an important cultural hub.
On stage shone some of Belgium's most renowned musicians: Toon Fret (traverso and presentation), Wim Vandenbossche (traverso), Edward Van Marsenille (harpsichord), Ronan Kernoa (cello and viola da gamba), Louise Vanbiervliet (violin), Ann Cnop (violin), Mathilde Wolfs (cello) and Luc Gysbregts (viola). The ensemble performed a varied and engaging program with works by Willem de Fesch, the lesser-known Jean-Baptiste Barrière, Georg Philipp Telemann and Johann Sebastian Bach.
The evening began with the lively Concerto Grosso VII in D for flute and strings by Willem de Fesch, which immediately transported listeners to the splendor of Baroque chamber music. The cellist duo Mathilde Wolfs and Ronan Kernoa then presented the virtuosic Sonata in G by Jean-Baptiste Barrière, where the dialogues between the two cellos created an intimate and rich sound experience. Telemann's Quatuor Parisien subsequently brought a remarkable interplay of flute, violin, viola da gamba and harpsichord, in which the musicians sensed each other smoothly in a musical conversation that was both lyrical and lively. This was followed by Bach's iconic Orchestral Suite in B minor, BWV 1067, in which especially the graceful dance movements brought the Baroque grandeur to life.
The official part of the concert concluded with another gem by de Fesch, the Concerto Grosso VIII in G for two flutes and strings, in which Toon Fret and Wim Vandenbossche performed a flowing and playful dialogue on their traversos.
Each piece was introduced in a humorous and at the same time informative manner by Toon Fret, who enthusiastically provided background information about the composers and the music. He told, among other things, that Willem de Fesch originally came from the Netherlands but was of Liège heritage, and that he, due to his "toxic leadership," had an eventful career in Amsterdam, Antwerp and eventually London. About Bach, we learned that the nobility planned a musical duel on harpsichord between the Saxon Baroque master and the then very celebrated French harpsichordist Marchand, but that the latter threw in the towel after hearing the great Bach improvise one fugue after another. These details gave the audience a deeper insight into the lives of the composers, which made them seem all the more human, and into the context of the pieces.
After thunderous applause, the ensemble treated the audience to a beautiful encore: the Pastorale from the wonderfully beautiful Concerto Grosso in G minor, op. 6 no. 8 by Arcangelo Corelli, a restrained and enchanting conclusion that captivated the audience.
"Le Concert de Tirlemont" once again demonstrated the power of ART27 to bring classical music to Tienen at the highest level, with a combination of virtuosity, humor and historical depth. A concert that the audience will certainly not soon forget.
We are already looking forward to the next concert by Le Concert de Tirlemont.